Deb Miller

While the inescapably weighty themes addressed in Night Side Songs are common to all of us, there’s a trigger warning that “viewer discretion is advised as the subject matter explores emotional and sensitive topics” and the “performance contains descriptions of medical procedures, cancer treatments, caregiving; dramatizations of loss and mortality; strong language,” and some might find it overwhelmingly heartrending and tear-inducing. But the intent is to offer a fully cathartic and unifying look at the power of music, theater, and community to help heal what we can’t change, with the realization that we’re all in it together.

The debut of Hans Litten: The Jew Who Cross-Examined Hitler is an intellectually compelling, historically informative, and emotionally impactful must-see production, which also serves as an urgent warning that those who don’t study history are doomed to repeat it. My advice is to see it – and don’t ever let this happen again.

Under the imaginative conception and direction of Matthew Warchus (with co-direction by Thomas Caruso for PAC NYC), it’s a magical experience that is sure to enchant even the most crotchety among us, brimming with warmth, good cheer, and the true meaning of Christmas.

Among the highlights are ‘Cool’ from West Side Story, with Minard and members of the company embodying the rival gangs of the Sharks and Jets, and enacting their rumble with abstract moves and sounds; the outstanding Burks and LeProtto energetically singing and tapping to ‘Moses Supposes’ from Singin’ in the Rain; the balletic ‘Pas de Deux’ from An American in Paris, beautifully danced by the lithe and graceful Pazcoguin and Cowperthwaite; and the dark ‘Manson Trio’ from Pippin, displaying the spot-on precision of Stanley, Hines, and Pazcoguin as they deliver Fosse’s groundbreaking elements of angularity, isolation, hip rolls, and turned-in knees, employ his signature hats and canes, and leave us with the famous ‘Ta Da’ moment at the end.

While it helps to have a thorough knowledge of Grease, the careers of Travolta and Newton-John, and pop culture of the ‘70s to get all of the sidesplitting references, even if you don’t, you’ll still love the comical performances and the witty social commentary of Vape!

For a riotously funny and unconventional new take on an infamous event in world history, with award-worthy performances and a top-notch design, Archduke is a must-see production that will keep you laughing and make you think.

Lincoln Center Theater’s revival of Ragtime is Broadway at its very finest, a top-notch production of an American classic with stellar performances, direction, and human themes that touch, entertain, and remain relevant, in their clear connection between then and now. Don’t miss it – and be sure to bring tissues for its most heartrending and shocking scenes.

In addition to the serious and timely themes, Varma injects touches of humor and an overriding sense of absurdism into the play. Set in the interior of the old increasingly deteriorating house, the sometimes confusing story moves back and forth in time and dimension, from living characters in present-day scenes to their memories and revealed secrets of the past, imaginings and post-mortem appearances, as they discuss their dilapidated home, disagree over what to do with it, and ultimately come together as a bonded family, joking over dinner (be it in the mind or in the afterlife) on the site of the no-longer extant house.

While everyone has a different sense of humor, I found the behavior of the damaged and deleterious characters in Lowcountry to be more dark, twisted, off-putting, and disturbing than romantic or funny, many of the plot points to strain credibility, the bombshell ending to be unexpectedly horrific, and the intended comedy to escape me, despite the indisputable talent of the cast and their ardent embodiment of the roles.

Lowcountry makes compelling points about how actions, and interactions, shape the trajectory of our lives. I’d love to see it again, in a production with a touch more sizzle.

If you believe, as advertised, that “laughter is the best medicine,” don’t miss this laugh-out-loud production of The Imaginary Invalid to get your hefty, healthy dose; it’s sure to provide some effective relief from the malaise of Molière’s times and ours.

Conversations with Mother is a laugh-out-loud funny, sharply insightful, and deeply touching tribute to the complex, close-knit, cherished connection between a parent and child – specifically here a mom and a gay son – which consummately delivers the over-riding message that Mother knows best, so listen to your mother; if Bobby did, it would have made his life so much easier.

Under Campbell-Holt’s fluid fast-paced engaging direction, Gilbert and Moses consummately capture their characters’ growing ease and attraction, teasing and then reassuring one another, kissing, and kissing again in the bar, retreating to his room and reviving the intimate connection they had in the past.

Kowalski offers more than an imagining of the pivotal night that resulted in the award-winning production of an American classic; it is also a penetrating psychological study of ego, power, and control, absolute dedication to one’s craft, and the drive to achieve acceptance, recognition, and success. Ostrin, Hanlon, and the cast deliver both the entertainment and the insights.

Individually, Marissa Jaret Winokur, Laura Bell Bundy, and Kerry Butler are amazing triple threats in their own right. Together in Mama I’m a Big Girl Now! they’re all that times three, so don’t miss the opportunity to see this spectacular, exhilarating, and funny reunion and be a part of their ongoing story and contagious joy.

Produced by Audible, Inc. and Chase This Production, the live performance of Strategic Love Play, with its humorous and contrary characterizations by the excellent Zegen and Yorke, will also be recorded and released at a later date on Audible, so if you can’t make it to Minetta Lane, you can listen to the audio version of the play at home and around the world, and find out if the time is right for them to heal their wounds and open themselves up to honesty, trust, and love again.

What ensues is a high-camp laugh-out-loud tale of bitterness and spite, chosen family and forgiveness, filled with powerhouse performances, pop culture references, witty nods to Shakespeare, and important messages about self-expression triumphing over oppression and community overcoming disharmony.

Can Stacey sing her way out? Will she fulfill her ambition of appearing in the reality TV franchise The Real Housewives (but “NOT of DUBAI!”)? Is it all just a dream? Or has someone covertly devised it with a very specific purpose in mind? Whatever (or as Stacey would say, “What the fuck?”). All I know is that, like Mindelle’s smash hit Titanique, playing Off-Broadway since 2022, The Big Gay Jamboree has all the makings of a cult classic. If you love to laugh, this is one cult you should join.

What The Welkin lacks in subtlety it over-compensates for in length. Everyone has a different sense of humor and taste in comedy, but for me, this was overloaded, unfocused, and in need of some serious editing. And if you’re looking for a laugh-out-loud happy ending, you should go see a musical.

Presented by The New Group and directed by Ashley Brooke Monroe, it’s a funny, combative, and ultimately celebratory view of love and determination breaking free from the disruptive socio-economic biases in their families and contemporary America – not exactly a spoiler, since it is, as advertised, a feel-good rom-com, not a tragicomedy!

Lempicka offers a theatrical manifestation of the revival of interest in a woman artist who embraced the avant-garde style of Art Deco, along with a privileged lifestyle and free sexuality, as stated in her own bombastic and defiant words: “I live life in the margins of society, and the rules of normal society don’t apply to those who live on the fringe.” If only the sexualization of women and their nudity in art were not so standard. As questioned in the famous poster by the feminist/activist group Guerrilla Girls in 1989, “Do women have to be naked to get into the Met Museum?,” noting that “less than 5% of the artists in the Modern Art section were women, but 85% of the nudes were female.”

But no spoilers here; to see “more about that,” the truths Fishburne learned from the stories and lies he was told, and his masterful embodiment of a variety of disparate roles and emotions, don’t miss his galvanizing reflections and stellar performance in Like They Do in the Movies.

A blockbuster cast of eight and a powerhouse five-piece band deliver it with full-blown mastery and full-out commitment, with not a single weak link among them, as they transition fluidly from scene to scene, character to character, gallows humor to tragic pathos, sensitive ballad to psychobilly and country-western to Vegas lounge-act musical stylings.

If you’re a child of the '80s-90s and have fond memories of growing up watching the invincible Marc Summers, this is the show for you, and it could make your dreams come true by volunteering to be a part of it with him. If not, it’s a great introduction to the life and charm of a thoroughly open, upbeat, and amiable person with a fabulous stage presence, delivery, and sense of humor, which is sure to make you a fan and to inspire you to make the best of everything life hands you – even if it gets slimy!

In the director’s program notes, Cadell observed the importance of a cast’s fundamental connection to the audience in the shared experience of theater, both in Shakespeare’s time and today. Izzard makes that connection. For those not well-versed in Hamlet, keeping up with the changing characters and locales of the story could be challenging (so read at least a synopsis before you go), but everyone will surely appreciate Izzard’s singular talent, individualized portrayals, and engaging performance.